From: Myron Ort (email suppressed)
Date: Sun Jan 23 2011 - 14:02:55 PST
Anyone have experience with supervising their telecine transfers? I
am about to do this again. I am leery of racking up too much time on
the clock with scene by scene color adjusting, but a certain amount
of correcting will be necessary. If a scene is corrected, can they
then go back to the same "default" settings that was working on the
previous scenes. Any suggestions for communicating with these
"colorist" technicians who do not necessarily know how to deal with
complex experimental hand painted films? I do not want to end up
with all my color subtleties having that over saturated color
sameness which is the tendency of the digital transferring. I don't
have a "Criterion"- like budget and I am not set up to venture into
doing this technology myself yet. I already notice that every
telecine house and every colorist has their own "approach", and I am
just a bit mystified by how the telecine color board operates
exactly. I wish I could do something close to a "best light"
transfer with a few general scene corrections. Any two cents may help.
Myron Ort
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